Tuesday, September 27, 2016

What's the difference between a Song and just Noise? A song is still noise, essentially. It's just orchestrated and conducted to evoke emotion out of you.

Plot, as a concept, is similar. It's just a bunch of events. But if you make them connected and emotionally resonant, then you can make it sing.

So, what makes a good plot? Let's talk about two very simple, fundamental elements.

CHARACTER CARES

If it's not personal, it's probably not that good.

There is a reason in all the detective movies the protagonist is looking for his wife's killer. There is a reason Liam Neeson in Taken didn't go all around the world tracking down... just another client. No, he was looking for his child. In the Hangover, our gang aren't tracking down their best friend out of some weird obligation, they're doing it because it's his wedding on the line. In Bridesmaids, the entire premise is based on how our main character feels like she's being frozen out of a real important part of her best friends' life.

We talked about how one of the major objectives you have in your screenplay is to make your characters suffer. This is how you make them suffer. This is how you imbue an "event" with emotional resonance so that your plot sings. This also makes your character ACTIVE as he will WANT that personal thing very, very badly.

Of all movies, James Bond series gives a pretty good glimpse into this phenomenon by the way. When Bond has a personal stake in what's going on in addition to saving the world, the movie is suddenly much better. Golden Eye (his relationship with 006), Casino Royale (his relationship with Vesper Lynd), Skyfall (his relationship with M) are much better movies than Quantum of Solace and Spectre.

So if your character saves the world/does something objectively important and it still feels underwhelming, maybe you need to hit a place closer to your protagonist's heart. Walter White did a plethora of stuff more objectively important than what happened with his family, but very few things hit as hard as that personal story does.

ESCALATING OBSTACLES

Here's a sequence of events that really happened to me:

- I was writing in a coffee shop just like any other day.

- Fortunately, the writing was going great. I was writing the final sequence of a script and it was thrilling as intended.

- Unfortunately, my heart started pounding like mad and it got freaky after ten minutes.

- Fortunately, there were other people in the coffee shop and they were helpful and soothing. They said I must have drank too much coffee and that's that!

- Unfortunately, then they started to freak out, saying: "Holy shit, your heart is beating out of your body. I can see your clothes shaking!"

- Fortunately, someone who seemed to know what she was doing approached me and asked if I was feeling okay. I was elated and asked if she was a doctor.

- Unfortunately, she said "kinda" and proceeded to say that she believes in the power of prayer and knelt down and started to speak to Jesus.

- Fortunately, we called 911 and the paramedics arrived promptly.

- Unfortunately, even they were freaked out and put an oxygen mask on my face.

- Fortunately, one of the paramedics said "I know what to do!" and went for his bag.

- Unfortunately, it was the biggest motherfucking needle I ever saw and he said, verbatim: "Now you're gonna feel like something just punched you in the heart. Like in Pulp Fiction. You've seen that movie, right?" which freaked me the fuck out.

- Fortunately, just as the needle touched my sin, my heart rate -- after the needle put the God's Fear in me, I guess -- stabilized and I no longer needed the giant needle.

THE END. (Also, I'm fine. It was a silly thing.)

So, that's not what I would call a great plot (I'm a pretty passive protagonist) but it has one thing you need in a plot that works: Those twists and turns and escalating obstacles.

The audience know there's going to be an "all is lost!" moment in your movie. Your challenge is to make it much worse than they think it's going to be. Like, for example, they could be like: "Hey, at least the paramedics came! He's safe!" but then THAT gets even worse by the revelation of the giant needle.

Also, this doesn't mean make your movie an endless series of defeats. Every story needs to have balance and dynamism. We need victories that bring us to glorious highs and defeats that bring us down to deep, dark lows. Neither can exist without the other.

Alright, that's that. Next week, we're going to talk about the First Act!

Tuesday, September 20, 2016

Structure is a tricky thing, because it's very easy to mistake the map for the territory. Some of the worst scripts I have ever read were perfectly structured with eight clear sequences, but they had no life to them. It was like watching a funeral procession made of eight little caskets pass by.

Unless you're self-financing your feature, your script will go through some readers and they will write comments to their bosses, or maybe to you directly. Here's a comment that no reader has ever written:

"I loved this script. It made me laugh, it made me cry. The characters are indelible and feel like real people. The ending fucking wrecked me. I hope this gets made by someone who understands the material, it might even be an Oscar contender. BUT I couldn't figure out where the sequence 6 started and ended, plus the mid point turn was unclear. So, unfortunately, I have to PASS on this script."

Your end game is to write something that moves people, makes them laugh, scares them, [insert emotion you mean to evoke]. It's not to write a "perfect" script. So, these terms and concepts are just tools for you to bring life to your script. Not the other way around.

On the other hand...

Have you ever watched a movie and thought to yourself:

"Why is this plot even in the movie? Who cares about that bullet or whatever, go back to Batman!"

"What the fuck, it feels like this movie had 11 different endings! Oh wait, more Hobbits."

"Didn't they already introduce Deadshot? Why do we need a second and a third introduction?!"

"Oh wait, the movie just... ended? Really? I sat through this and it ended on... Joaquin Phoenix fingerbanging a sand woman?"

"Man, I really liked the first half with Seth Rogen and Adam Sandler, but this stuff with Eric Bana and the house is really dragging-- Holy shit, why is this movie almost 3 hours?!"

I'm a firm believer that this movie could have been a stone cold classic with just a little bit more structure.

You should know about Structure because that's how you fix all these problems.

For example, what does it mean when a movie "drags"? It means your character has been following the same goal in the same way for a long time, and maybe you need to throw in a curveball. So, the solution is clear: Your sequence/act is running too long. Remember how we need to be switched up every other 15 pages? You didn't do that properly.

Structure is also a good tool to get to that honest, authentic place where you evoke the emotion of your audience. For example, Community and Rick and Morty are deliriously anarchic and it might feel inconceivable that they are actually really tightly plotted... but they are.

So, I know this has been especially on the esoteric side of things but, to me, the Structure part is pretty clear: Keep your audience engaged, 15 pages at a time, build to a First Act Ending where your audience has that "Here we go!" feeling, throw them a curveball at the Mid Point they didn't expect that either focuses your movie or diverts it in an interesting way, then hurt your heroes until they bleed and are forced to change as the Second Act Ending comes in... and build to a satisfying Resolution that addresses the themes you worked through in your story.

So, yeah, do that friend, and you're golden!

See you next week with a discussion about Plot and how that fits into the scheme of things!

Tuesday, September 13, 2016

There are dozens of predictable romantic comedies that only work because the characters are so well drawn and we want the central duo to end up together. There are thousands hours of listless TV shows involving doctors, lawyers and cops that are just... existentially unjustified to exist at this point and time. But they work because the central character is amusing/fascinating/different, take your pick.

There is no easy way to teach people to create indelible, memorable characters. But, hey, here are two "tricks" I use. Maybe they'll work for you too!

Online Impersonation

No, no, it's way less sketchier than it sounds, I promise!

There are lots of sites (reddit being the chief one among them) that have personal advice/help forums.

So, let's stay you're writing a thriller about a stay home suburban man with a wild past who discovers an alternate version of himself, the road-not-taken version of himself who did not settle down and kept on roaming, is haunting him.

Let's say you have the structure of the story but this character, you can't quite get into his head. What does he sound like? What are the specific details that differentiate him from the rest of people? What does it mean to have had a crazy past and a serene present?

So, maybe you create an account on reddit and write a post asking for advice. Something like this.

Chances are, you will get a lot of advice from people who have been in your situation. They've been there. As they talk about themselves, you get a better idea of what it must feel like.

I know this sounds a bit morally fucked up or something but I feel like, or maybe I justify it by saying this, we sort of become our characters at the moments when we inhabit them, so it's okay?

So, there you go. That's character-building-exercise number one. Then there is...

MBTI TABLE

If you haven't heard about the Myers-Briggs test, go here first. If you have the time, take the test.

I'm an INTP, my wife is ENTP. So, naturally, we get along... Just like Varys and Tyrion!

Now, I know many people think this is all bullshit, and it might be honestly, but if you have a bunch of characters and you want to figure out their voices, assigning them MBTI types works wonders. Of course, it's all broad outlines and you don't want to write stock characters, but it can be a helpful start in getting into their shoes.

So, let's say you created your characters. Then what? What do we do with them in, you know, the actual screenplay?

CHOICES

Choices reveal character.

Let's say your character is a brave woman.

The best way to convey this to the audience is to put her in a situation that %99 of people would get the fuck out of, but she doesn't. She stays and she helps.

Or, say, your character is logical and introverted. Then maybe you put her into Disneyland, but instead of enjoying the rush of the place like her friends, she chooses to figure out how a certain roller-coaster works on a structural level.

You see the pattern? Give her a choice that contrasts with what anyone else would have done.

And super-bonus points if you put your character in a situation at the beginning of the movie where he/she makes a certain choice, then, at the end of the movie, you put him/her in a similar situation and he/she makes the other choice, conveying to us his/her change.

The poster child for this is Robert De Niro's character in The Deer Hunter. At the beginning of the movie, he has a deer in his sights. He shoots, he scores. After his experience in the War, he goes hunting again. This time, he can't bring himself to shoot the deer.

Thursday, September 1, 2016

What does Transformers 3, The Godfather and Dude, Where's My Car have in common?

They're all stories.

The Story

A story is about someone who wants something very badly and is having trouble getting it.Let's break that down, shall we?

"A story is... about someone..." Whose story is it? Through whose eyes, and more importantly through whose emotions do we experience the story? Who takes the actions that drive the story forward? This is the first big choice the storyteller must make, and there is always more than one answer.

"...who wants something..." What does this protagonist want? What primary desire is forcing him/her/them to take action? Whether or not they get it is the DRAMATIC QUESTION that the story tracks and ultimately answers.

"...very badly..." Why does s/he want it so much? What's going to happen if he/she DOESN'T get it? This defines the STAKES of your story.

"...but is having trouble getting it." What are the obstacles? Who is the antagonist, or what are the antagonistic forces that is keeping the protagonist from getting what s/he/they want?

But why? What happens if you bungle this up?

Introducing: The Care-O-Meter!

Cinema is a visceral medium. 99 percent of the time, whether we like a movie or not depends on whether we gave a shit about the people/animals on the screen or not. Imagine the TV Show House if House wasn't interesting, would anyone have watched it and thought "Oh my, look at all those fascinating medical mysteries!" The intellectual component of it is definitely a part of what makes a story tick, but unless you have lovable characters/engaging situations, it's tough for the audience to care. Think of how your non-film-school friends/family members talk about movies. "I love the Joker, he was so fun! He was the best part of the movie!"

The Care-O-Meter is a tool we use in the class to help you identify which parts of your script are "cooking" and what parts are "falling flat". For example, you might discover people really care about those supporting character you have, and maybe you should bring him/her more up to the forefront of your story. Maybe people are really not feeling that funny set piece with the lions running around the circus.

What can you do to fix this?

TENSION!

The first photo that came up when I googled TENSION!

You've probably had this experience: A character is about to do something and you want it to succeed so badly. You're FEARING he/she is going to fail, you're HOPING he/she is going to succeed. Best movies evoke this in us and no matter how complicated they may seem, they can be traced back to that very simple "Someone wants something very badly and has trouble getting it!"

12 Angry Men: You're desperately hoping the Juror 8 is going to convince the others and fearing that the accused young man is going to be hanged/go to prison for the rest of his life.

Why did I choose this film specifically?

Because look at that poster helpfully spelling it out!

Of course not all tensions are life or death. But if you write a romantic comedy, you better make sure that we HOPE love will bloom between your central couple and FEAR they're not going to make it. The trick is go deeper instead of bigger. Whiplash, for example, makes you care about whether if a kid is going to become a jazz drummer or not SO MUCH that the entire movie feels like a heart attack.

Look at your script. Is there a way to heighten the audience's engagement with your story? Perhaps your antagonist isn't strong enough, so we don't FEAR that much. Perhaps your character doesn't seem to want that much from life, so we don't HOPE that much either. 90 percent of script problems can be boiled down to this Tension/Hope/Fear triangle.

And next time when you talk about your script with someone who has read it, pay specific attention to how they feel about it emotionally. Ask them where they felt most engaged and where their Care-O-Meter hit zero. This is essential for you to pinpoint the problem areas and the strong elements in your script!